“Daybreak” sets the tone for the album right off the bat. It is obvious that gone are the days of soft and acoustic. Marié is definitely pushing for a more popular sound. This song is about not wanting the sun to come up, because you don’t want the night to end, and because you have no idea how the light of day can change things. I actually really like it, and when the first notes of the song played, I did not expect to. I think she’s doing a really good job changing up her sound.

“Avalanche” has a total mainstream pop sound. Well, maybe it’s sound is slightly softer than the usual pop you find on the radio, but it still fits the category. Even though the sound is pretty standard for female songwriters today, the lyrics are clever, and her voice is as clear and pretty as ever. It’s a nice song, and to my surprise I like it as much as the first track.

“Breathing Underwater” features fantastic lyrics and a pretty voice, but I’m not loving the echoing she employs at the ends of the lines in the chorus. The music is okay, but not as good as the first two tracks. I still like it, but this is a song that I think would have sounded really cool if it was recorded in an acoustic format. Without all of the additional instruments, the lyrics and her voice would have stood out better.

“Shoulda Been Simple” is a pretty song, but this one is definitely a typical pop break up song. It’s not an angry break up song, just a simple one about things changing, making a relationship different than what was wanted. Even Marié’s lyrics can’t save this one. I like it; it’s pretty. But it’s typical. There is nothing unique about it.

“Know You By Heart” is drastically different than her old style. It is very much reaching for the techno format, and I don’t know if I can get behind it. I’m not a fan of the more manufactured sound. I prefer my music natural, not tweaked by a computer. I’m sure a lot of people will disagree with me on this one, but so far, this is the only track I actually dislike.

“Feel” was actually the first song I heard from this album. I saw the Japanese music video for the song when the singer posted it on her Youtube channel, and I was really surprised. Her voice is so much stronger here than on her first album. The acoustic sound is definitely not here, and the song is really powerful. This is one case where going the mainstream route worked really well for her.

“Come Find Me” is a song I very much enjoyed by about twenty seconds into it. It is about a girl finding that she is ready to fall in love, and she decides to let love know. Yes, this theme occurs in many a pop song today, but I like the image evoked from the lyrics of sending up a flare in the sky. The song paints a nice picture and is pretty to listen to. This is a track that I think is very similar to Marié’s old style, while still utilizing her new pop sound. Perfect blending of the two types of music.

“Symphony” really shows off her voice. I’ll give her that. But, and I know this is going to sound strange, the lyrics to this song really remind me of the Vanessa Hudgens solo “Gotta Go My Own Way” from the High School Musical soundtracks. Even the style is similar. And, I’m sorry to say, Vanessa’s got a much more powerful voice; she can really belt out a track. This might have been better with a stronger singer, or in an acoustic version. I do, however, love the metaphor of writing a symphony for living your life. Again, clever lyrics.

“Machine“ is very repetitive, but it gets the point across. This song serves to point out to the people who might accuse Marié of selling out to mainstream music, that no one is controlling her. She sings about cutting strings, not living on automatic. I think it’s actually a really good reminder for her audience that she is a real person experimenting with her sound, not just trying to do what she’s told.

“Overboard” features Livvi Franc, and it has a really interesting sound. It has a harder edge than the rest of the album, and that edge provides an interesting contrast with her voice. She doesn’t really have one of those rock and roll kind of voices; it’s sweeter, cleaner. The lyrics, again, are great. It’s an interesting choice for the album. I’m still not sure if I like it or not, but I do find the track intriguing.

“Love With A Stranger“ is very different from any of her other songs, in terms of its subject matter. It details a no stings attached relationship. Don’t be fooled by the word love in the title. She sings about “no questions, please don’t ask,” and “just enjoy the moment.” It is not the fluffy feel good love songs she usually gravitates towards. The music is also probably the most haunting of her other tracks as well, making it really stand out.

“Come To Life” was a song Marié said she wrote to remind herself to not be impatient, that love is something that you can’t rush. She does a great job of reminding everyone else of that as well. I don’t love the upbeat pop tempo of the song, but I do love the lyrics and her voice on them, yet again.

“Crazier Things” discusses the fear of falling in love by comparing an unlikely relationship to crazy events going on in the world around her. It’s a really good idea for a song, and it feels like a hold out from her acoustic style. Yes, the pop element is here, just like on all of the other tracks of the CD, but it has the same light feel to the music even though the lyrics are heavy. This one is actually my favorite track from the album. I’m really glad that it rounds out the song list.

Despite my reservations, and my dislike for a couple of the tracks, this CD is really enjoyable. I think Marié Digby will easily make the transition from an acoustic song bird to a pop darling. A lot of the pop-lite songs on the disc are great. I kind of wish she had not wowed the world with her acoustic renditions first though. I can’t help but wish for a disc full of stripped down versions of all of these songs, even though I like so many of them just the way they are. I just think she sounds amazing in her natural state, and I hope she does not commit to the pop playground full time.